六 震 六 盪
09-11.12 3PM
10.12 8PM
香港兆基創意書院 多媒體劇場 Multi-media Theatre, HKICC Lee Shau Kee School of Creativity
Danny Yung Experimental Theatre Education Programme
Performance: Six Waves Six Shocks
演 出
榮 念 曾 實 驗 劇 場 秘 笈
藝術總監、導演 Artistic Director / Director
榮念曾
Danny Yung 創作演出 Creation and Performance
創意操場青年學員
Young Trainees of Creative Playground
合作 Collaboration
主辦 Presented by
操場筆記
給十八位同學的信 Letter to my 18 students 我知道大家在過去六個月裡，在香港也好，在南京也
了解過去是為了了解當下。了解外面是為了了解裡面，
好，經歷了一次前所未有的劇場操練。雖然密集的工作
了解社區社會，也是為了了解自已。我常常提醒大家寫
坊課程有時會累，其實集體腦震盪，比身體操練，有時
筆記，常常建議大家做總結。我常常希望大家提問題，
更考功夫。
沒有問題的同學真是有問題。不知道怎樣去問問題，已 經成為大家集體的問題。是因為我們的教育制度的問
操場固然是關於劇場的探索，六種震盪其實也是集體創
題？是因為我們的文化不太關注問問題的文化。我們試
作的探索；是香港精神的探索，也是發展個人的探索。
試學習問問題，學去問其實正是學問的開始。
探索我們的身體，我們的聲音，探索我們的環境及它的
六種震盪是一個開始。前面的劇場就如大家前面的道
結構，我們的文字及文化及溝通之結構的來龍去脈，其
路。我們怎樣能夠創意地去開拓一個開始，就如墾荒開
實也是認識什麼是歷史，比如人類身體行為的歷史，社
路一樣。需要開放的精神，需要團結和合作，需要思考
會結構矛盾的歷史，劇場形式內容演變歷史，跨文化研
和方法、需要不懈、需要學問。
究發展的歷史，科枝與創新發展的歷史，當然也包括我 們的地方、我們的香港之歷史（比如我們在南京旅程去
榮念曾
了解南京條約簽訂的故事）。
2016年12月1日
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Notes on Creative Playground
I believe you all went through an unprecedented theatre training in the past six months; be it in Hong Kong, or in Nanjing. It might be tiring to take part in all the intensive workshops, yet collective mind stimulation is sometimes more demanding than physical training. Creative Playground is definitely an exploration of the theatre. The six types of stimulation probe into the nature of collective creation; it’s also an exploration of the Hong Kong spirit and of self-development. By exploring our bodies, our sounds, our environment and its structure, and also the evolution of the structure of our writing, culture and communication, we are actually learning about what history is; such as the history of the physical behavior of human beings, the
structural conflicts of society, the evolution of the form and content of the theatre, the development of crosscultural studies, and that of technology and innovation. Naturally, it also includes the history of our place, the history of our Hong Kong (for instance, we learnt about the story of the signing of the Treaty of Nanking on our Nanjing trip). To understand the past is to understand the present. To understand the outside is to understand the inside. To understand the community and the society is to understand ourselves. I always remind you all to take notes; I always suggest you to write summaries. I always expect questions from you. Students with no questions are students with problems indeed. Not knowing how to pose a question has become a collective problem. Is it a problem of our educational system? It’s because in our culture, we don’t care about the culture of questioning. Let’s try and learn how to ask questions. Learning to inquire is actually the beginning of knowledge. The six stimulation is a beginning. The theatre ahead resembles a road unfolding before you. How we can creatively open up a beginning is like opening up barren land for constructing roads. Thither, we need open attitudes; we need unity and cooperation; we need to think and have proper methods; we need to make unremitting efforts; we need knowledge. Danny Yung 1 December, 2016 (Translated by Jackie Yip)
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操場簡介 About Creative Playground 《創意操場 - 榮念曾實驗劇場秘笈：青年劇場
The “Learning Programme for Youth Theatre”
教育課程》是一項特別為16至25歲本地青年
in
而設計的實驗劇場基本功課程，以華人實驗藝
Experimental
術先驅榮念曾的創作理念為藍本，培訓本地藝
programme on the basics of experimental
術人才為目標。經過面試及甄選的創意操場
theatre specially designed for local young
青年學員將參與「創意講座」，及一系列涵蓋 身體、聲音、空間、科技、符號、結構的「創 意基本功課程」，並通過「創意教育論壇」及 「南京學習團」 - 亞洲傳統表演藝術創新交流 活動，與劇場、藝術、創意產業、教育等不同 界別的專業人員、藝術家、學者跨界對話， 及向亞洲當代與傳統表演藝術大師學習， 從認識自己，認識劇場，認識文化交流對話 開始，學習劇場創作。
“Creative
Playground Theatre”
is
– an
Danny
Yung
elementary
people aged 16-25, using the creative concept of Danny Yung, the pioneer of Chinese experimental arts, as blueprint, with the aim of training local artistic talents. After interviews and auditions, trainees of Creative Playground will participate in “Creative Lectures” and a series of courses on the basic skills of creativity, including lessons on the body, sounds, space, technology, symbols and structure. They will learn to get to know themselves, theatre and
創意操場網址
cultural exchange through dialogues to learn
http://www.zuni.org.hk/playground2016/
about theatre performance and creation in “Creative Education Forums”, the
“Nanjing
Study Tour”, a creative exchange programme on Asian traditional performing arts, as well as learning from dialogues among different artists, professionals and scholars from various disciplines like theatre, arts, the creative industry and education.
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榮念曾 Danny Yung 藝術總監、導演 Artistic Director, Director
榮念曾是享譽國際的實驗藝術先驅，香港專業實驗藝 團進念．二十面體創團成員及聯合藝術總監，並擔任 香港當代文化中心主席、中華創意產業論壇召集人、 香港設計委員會成員、嶺南大學文化研究諮詢委員會 成員、香港演藝學院戲劇學院顧問，及香港城市大學 文化與文化產業管理榮譽文學士課程顧問。投入劇 場、漫畫、錄影及電影、視覺藝術及裝置藝術等創作 超過四十年，劇場作品受邀於三十多個亞洲及歐美城 市演出，為「天天向上」概念漫畫及塑像始創人。 2008年憑《荒山淚》於聯合國教科文組織國際劇協 的Music Theatre NOW比賽中奪得殊榮。2009年獲 德國聯邦總統頒授聯邦十字絲帶勳章，以誌其於推動 港德兩地文化交流的貢獻和成就。2014年更成為福 岡亞洲文化獎 — 藝術文化獎獲獎者。2016年獲香港 藝術發展局頒予「2015香港藝術發展獎藝術家年獎 （戲劇）」。
An experimental art pioneer, Yung is a founding member and Co-Artistic Director of Zuni Icosahedron, an epitome of the professional experimental arts company in Hong Kong. He is also Chairperson of the Hong Kong Institute of Contemporary Culture, Convener of the Chinese Creative Industries Forum, Member of Design Council of Hong Kong, Member of Advisory Board on Cultural Studies of Lingnan University, Member of Advisory Committee for The Hong Kong Academy for Performing Arts School of Drama, and External Member of Advisory Board for City University of Hong Kong's Bachelor of Arts (Honours) in Culture and Heritage Management. In the past 40 years, he involved extensively in multifarious fields of the arts, including theatre, cartoon, film and video, visual and installation art; and his works have been presented in over 30 cities across Europe, the US and Asia. Yung is also the artist of Tian Tian Xiang Shang conceptual comics, figurine and sculpture. In 2008, with Tears of Barren Hill he garnered the Music Theatre NOW Award given by the UNESCO’s International Theatre Institute. Yung was bestowed the Merit Cross of the Order of Merit by the Federal Republic of Germany in 2009 in recognition of his contributions towards arts and cultural exchange between Germany and Hong Kong. He is also the laureate of the 2014 Fukuoka Prize – Arts and Cultural Prize. In 2016, Yung was awarded the Hong Kong Arts Development Awards 2015 Artist of the Year (Drama) presented by Hong Kong Arts Development Council. 5 33
許敖山 Steve Hui 音樂總監及設計、創作指導 Sound Director and Design, Creative Instructor
生於香港，香港演藝學院音樂碩士（作曲及電子音 樂），經常以多重身份遊走於現代音樂、聲音藝 術、多媒體劇場及地下文化之間。其作品曾於香港 藝術節、深圳香港城市建築雙城雙年展、新視野藝 術節及微波國際媒體藝術節等演出，並獲香港小交 響樂團、香港城市大學、香港創樂團、現在音樂、 城市當代舞蹈團等委約創作。近年主要作品包括 《1984》電影歌劇、與龔志成合作《家．春．秋》 現場電影配樂、邵逸夫創意媒體中心開幕節目《四 象萬相》、多媒體歌劇《利瑪竇的記憶宮殿》及 《維根斯坦》。
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Steve Hui (aka Nerve) is a multidisciplinary artist based in Hong Kong, whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. He studied composition and electronic music at the Hong Kong Academy for Performing Arts. His work has been presented at the Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. He has received numerous commissions including the City University of Hong Kong, Contemporary Musiking Hong Kong, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, City Contemporary Dance Company, among others. Hui's recent works including: 1984 - Cinematic Opera, live soundtrack of 1950s film Family, Spring, Autumn with Kung Chi-shing, The Four Infinities for the opening of the Run Run Shaw Creative Media Centre, digital opera The Memory Palace of Matteo Ricci and Wittgenstein.
黃靜婷 Chloe Wong 創作指導 Creative Instructor
香港演藝學院現代舞系（榮譽）學士，曾獲得演藝學 院友誼社獎學金，畢業後獲「香港賽馬會音樂及舞蹈 信託基金」之舞蹈獎學金，修讀由Hollins University 與美國舞蹈節（ADF）所合辦的碩士學位課程在美期 間曾獲資助代表大學前往摩納哥參加Monaco Dance Forum 2006 。 2012年赴捷克布拉格深造戲劇及表演課程。 其作品曾於世界各地發表, 包 括香港、廣州、馬來 西亞、紐約、維珍尼亞州、德國、波蘭、希臘及美國 舞蹈節ADF 2007 。 近年作品包括於2014及2015香港藝術節 「香港賽馬會當代舞蹈平台」創作《默染》及 《人間．獨．白》，《人間．獨．白》被選 在「德國Internationale Tanzmesse nrw 2016 國際舞蹈博覽會」上演出。《風惜惜》為波蘭旋轉舞 蹈劇場藝術節作交流演出、在希臘演出群舞《Fara, Performing at the Edge》以及獨舞《Tiny Hong Kong》等。 2013年開始了與日本藝術家的三年合作計劃 《絕對飛行機》。現為香港兆基書創意書院任教多 媒體表演藝術課程、香港演藝學院(應用學習課程)等 擔任導師。2015年起擔任《創意操場 榮念曾實驗劇 場》青年劇場教育課程的創作指導及工作坊導師 。
Wong graduated from The Hong Kong Academy for Performing Arts (APA), with honours in Contemporary Dance. She was awarded the Hong Kong Jockey Club Music and Dance Fund scholarship to study master's degree programme jointly organised by the Hollins University & American Dance Festival (ADF) in the U.S. While studying, as a representative of Hollins University to attend the Monaco Dance Forum 2006. In 2012, she completed the Acting & Performing course in Prague, Czech Republic. Her choreographies have been staged in different countries in the world, including Hong Kong, Guangzhou, Malaysia, New York, Virginia, Germany, Poland, Greece and American Dance Festival. Her recent works include Diffusion of the Silence and Heaven Behind the Door was commissioned and produced by Hong Kong Arts Festival 2014 & 2015, Heaven behind the Door was selected and presented in International Tanzmesse 2016, in Dusseldorf, Germany. Lifting Bones was performed in Zawirowania International Dance Theater Festival 2015 in Warsaw, Poland. An ensemble work and solo work Tiny Hong Kong performed in Greece Fara, Performing at the Edge, etc. Since 2013, Wong has collaborated with Japanese artists in a three-years cross cultural exchange programme Absolute Airplane. Wong is a independent artist, and currently teaching at HKICC Lee Shau Kee School of Creativity, HKAPA (APL course), etc. Since 2015, Wong has collaborated “Creative Playground – Danny Yung Experimental Theatre” Creative Instructor. 7 33
學員筆記
Performers' Notes
陳漢堯 Billy Chan
劇場容許「我」的出現嗎? 每個人心目中應該會有屬於自己的答案。 但我不知道，或者這個會是我的答案 。
Does the theatre allow “me” to appear? Each person should have his own answer in his mind. But I don’t know, maybe that’s my answer.
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學員筆記
程朗 Tony Ching
什麼是現實？什麼是虛假？
What is reality? What is falsehood?
我本來對戲劇的認知是劇本，三一律，角色， 情感，演繹，像真。後來視野闊了，我發現怎樣的 演法都有，打破規矩，有內容，有實驗，有人性， 有非人性。劇場之內，什麼都可以是真實，但觀眾 的眼睛是雪亮的，戲劇知識的局限沒有影響他們對 「真實性」的敏感度。我們好像都有一把尺，不論 形式，就是可以把「不真實」「不美」的東西分開 來。究竟是為什麼？
The original idea I had about the theatre was surrounded by the script, classical unities, characters, emotions, acting and the nearreality. My vision has later been widened, and I have discovered that there are unlimited ways to perform. Rules can be broken. There are contents, experiments, portrayal of human nature and nonhuman nature. Inside the theatre, everything can be real. However, the audience is bright, and their limited knowledge about the theatre doesn’t affect their sensitivity to “reality”. We all seem to have a ruler, regardless of form, that could tell what is "unreal" and what is "not beautiful". Why is that?
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學員筆記
程穎翹 Winkie Ching
劇場可以把日常的習慣反過來。我們很少了解 自己，透過不同動作的快慢去感受自己。日常生活 的急速不知不覺忽略的聲音、感覺，透過今次不同 的工作坊讓我回到根本。
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The theatre can turn our everyday routine upside down. It’s rare for us to understand ourselves, and to feel ourselves through actions of various speeds. The fast tempo of everyday life, the unwittingly forgotten sounds and feelings - through attending the different workshops this time, I am able to return to my root.
Performers' Notes
蔡雨田 Choy Yu Tin
你想透過劇場問自己一條什麼問題： 為甚麼想透過劇場回答自己的問題？ 我是否只可以在劇場才能發現問題？ 我們認為劇場能夠解決怎樣的問題？ 社會不應該阻止在劇場所問的問題？ 一條問題不只是一個答案， 而是一連串密不可分的問題， 是現象，是概念，是實驗。
What is the one question that you want to ask yourself through the theatre: Why do you want to find the answer to your own question through the theatre? Can I discover the questions only in the theatre? What kinds of problem can be solved by the theatre? Should the society prohibit the questions raised in the theatre? A question leads not only to one answer, but to a series of closely-related and inseparable questions, which is a phenomenon, concept or experimentation.
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學員筆記
何嘉翹 Ho Ka Kiu
第五度空間， 我們的這一幕遂發生於四面壁中我會問甚麼問題。 意象在胎內會怎樣呼救？ 肢解的幻覺會如何呻吟？ 自這度空間吹起， 有那些星體在守夜？
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The fifth-dimensional space; this particular scene happens within the four walls What question would I ask. How would imagery cry out for help inside the foetus? How would dissected illusion moan? Blowing from this space, what stars are there to keep vigil at night?
Performers' Notes
許文壕 Hui Man Ho
質疑客觀真善美之存在的同時， 為何還要追求主觀的真善美? 質疑前人所追求的同時，為何還必需 先跟從前人的路走一趟才再發掘? 質疑的同時，卻要先放下質疑去感受。
While questioning the existence of truth, kindness and beauty in the objective sense, why do we still seek the truth, kindness and beauty in the subjective sense? While questioning the pursuit of our predecessors, why do we still have to follow their footsteps before engaging in our own exploration? While we query, we should lay down our queries in order to feel.
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學員筆記
許民杰 Hui Man Kit
透過劇場，我在問自己如何生活，何謂生活。之所 以選擇在劇場內去問，因為在劇場外的世界，我找 不到空間去問—沒地方、沒對象、沒回響。在劇場 裏埋頭苦幹也要狠狠的問自己，如何在劇場生活， 何謂劇場生活。不再去問的話，會麻木，會迷失。
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Through the theatre, I ask myself how I live life and what life is. Why I choose to ask these questions in the theatre because in the world outside the theatre, I can’t find the space to ask. No space, no listener, no feedback. I work hard in the theatre, and ask myself mercilessly - How to live a life in the theatre? What is life in the theatre? If I don’t ask anymore, I would become indifferent and will be lost.
Performers' Notes
許友權 Hui Yau Kuen
在劇場中我能夠找回自己嗎？
Am I able to find myself again in the theatre?
我是一個出來打工已經一年的普通打工仔。每天朝 九晚五的工作，日復日都過着一樣的生活。漸漸， 身體變得乏力，連腦袋都停止了運轉。牠們不是壞 了，而是沒有了用途，因為我就像機器一般只需聽 從指令去運作，根本用不著腦袋，而身體也只是重 複着沒有意義的活動。
I'm an ordinary person who has entered the work force for a year. I work from nine to five, and live a monotonous life day in, day out. Gradually, my body is drained of strength. Even my brain stops functioning. Not that they’re out of order, it’s just that they no longer have any purpose to serve because I operate like a machine and merely need to follow orders. I don’t have to use my brain, and my body only repeats meaningless actions.
我發現自己已經不再是自己了，我只是一部機器。 我很希望找回自己，哪怕只是一點的可能性。舞 台曾經是我最喜愛的地方，在這裡我渡過了最開心 的大學生活。所以我很希望回歸舞台，作出新的嘗 試，不斷地挑戰自己的極限。透過這趟探索身體與 舞台的旅程，尋回真正的自己。
I realize I’m no longer myself, but only a machine. I very much hope that I can find myself again, even though there’s only a slim possibility of success. The stage was once the place I loved most, and the place where I spent the happiest time of my university life. I want to go back to the stage to make new attempts and challenge my own limits unceasingly. Through this journey of exploring the body and the stage, I want to recover my true self. 15 33
學員筆記
葉珮君 Stephanie Ip
個人的視野有多廣，實驗劇場的定義就可以有多 廣，因此每個人對實驗劇場的形態都存在變數，變 數當中卻有自身和外來的限制。如何透過實驗劇場 來定義自己？如何從變動中的限制來定義自己？
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The definition of experimental theatre can be as wide as one’s scope of vision. Hence, each person has his own way to experience the state and form of experimental theatre, which are variable and are bound by one’s own and circumstantial limitations. How to define one’s self through experimental theatre? How to define one’s self amid all the changeable limitations?
Performers' Notes
江清蓉 Ellen Kong
劇場對我來說是甚麼？
What is the theatre to me?
愛的教育／溫泉／巴士／遊樂場／宵夜／邊爐／ 病房／操場／島嶼/錄音室/k房/實驗室/家......究竟有 甚麼吸引力令我會如此死心塌地愛上這個地方。語 言、符號、文字都未能表達到我有多強烈的心理和 生理反應。在這裏沒有對與錯，顛覆你的固有概念 思想，你會變回嬰兒般重新學習、呼吸、走路、吸 收、消化、說話、思考、過程中會經歷風雨、陽光 讓自己重新活一次。
Love education/ hot spring/ bus/ amusement park/ night snack/ hot-pot/ hospital ward/ playground/ island/ dubbing studio/ karaoke room/ laboratory/ home… What attractions does this place hold that make me so infatuated with it? Language, symbols, words are not enough to express how strong my psychological and physical reactions are. There’s no right or wrong here. By subverting your fixed ideas and thoughts, you’d become a baby again and learn like a baby, to breathe, to walk, to absorb, to digest, to speak, and to think. In the process, you’d encounter wind and rain, and sunshine, which would let you live all over again.
字不多但感受很深，湧到喉嚨但說不出。就讓這份 感覺在腦內大爆發。在這裏我是一粒微塵，我將會 往後都會留在，這裏直到生命完結時！
There are not many words but the feeling runs deep; it gushes to the throat without being spoken out. Just let this feeling explode in the mind. I'm a particle of dust here. I'll stay here from now on, till the end of life! 17 33
學員筆記
郭凱盈 Helen Kwok
在疏離和混亂之中，如何安放自身? 「為了避免結束，你避免了一切開始。」 顧城 《避免》 在熱鬧中帶著孤寂向前行，身歸何處才能踏實？一 期一會到失落，(_)不小心墮進了疏離與投入的漩 渦，或會傾向自(_)沉溺，或會在(_)和(_)之間互相 糾纏，或會繼續享受孤島的靜謐。
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Amidst all alienation and chaos, how do I position myself comfortably? “To avoid endings, you’ve avoided all the beginnings.” “Avoidance”, Gu Cheng Amid the hustle and bustle, I, accompanied by solitude, move forward. Where can I settle down so I feel I’m on solid ground? The fateful meeting of a life time seems to prophesy the inevitable loss at the next turn. If (_) accidentally fall into the vortex of alienation and passion, there may be the inclination to become obsessed, or struggle between (_)and (_), or enjoyment of the silence of solitude.
Performers' Notes
賴旭輝 Clement Lai
劇場如是說……
Thus spoke the theatre…
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學員筆記
羅凱盈 Vicgina Law
劇場給予我一個空間能夠與自己的身體溝通。 身體永遠是最真誠的伙伴，她不會假裝，誠實地反 映一切狀態。放下所有包袱，在這個空間尋找最純 粹的心靈。 當下感覺，這就是意義。
The theatre gives me the space to communicate with my own body. The body is always your most genuine companion, as she won’t pretend but will honestly reflect the state of everything. Let’s lay down all the burdens, and search for the purest soul in this space. The present feeling – this indeed is the meaning.
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Performers' Notes
李炎鑫 Lee Yim Yum
透過劇場我會問，到底在劇場你是什麼位置？你是 學習？還是全力以赴作為演員？還是其他，我認為 找出自己位置是十分重要。
Through the theatre, I'd ask: What is your position in the theatre? Are you learning? Or are you doing your best as an actor? Or other questions? I think finding one's position is very important.
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學員筆記
李秋影 Eleanore Li
在你靈魂出竅的那一刻， 你看到劇場上懸掛多少個面具？
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How many masks could you see in theatre when you are floating out-of-body?
Performers' Notes
鍾家宜 Liauw Maydelyn
透過劇場我想問自己還可以走多遠，可以如何去突 破自己，在劇場呢個世界入面，沒有任何不可能， 所有不可能只是你自己給自己的藉口，一直活在安 全地帶，沒有嘗試踏出去，只會一成不變；相反， 當你嘗試踏出後，你得到可能更多，也可以重新找 到自己，並改變自己，再尋找更多的變化。
I want to ask myself how far I can go in the theatre. In the theatre, there is no limitation. Limitations are only excuses for staying in your safety zone. I want to break away from the safety zone to do something unsafe. Maybe that's the only way to find myself again. And also to change myself again.
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學員筆記
吳璟琳 Ng King Lam Vanessa
「劇場帶給你的問題」 走進這個漆黑的世界，旋渦中心帶著光，像是有 魔力般，我們無不被吸引。 這裏是劇場，這裏是眾人心中的夢想國度。 進來很容易，要堅持卻很難。 於是，為了繼續走下去，你願意努力：拼命地把筋 拉鬆、盡力地練好體能、忘我地揮灑汗水，彷彿是 證明了自己還活在這個舞台。 當你把自己磨成了一把利刃，卻把心弄丟了。 那顆最單純的心，單純地熱愛表演、熱愛舞台、熱 愛藝術；你忘記了當初是為甚麼，選擇站在這裏。 此時此刻，你仍然是真心的，熱愛這個劇場嗎？
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“The questions the theatre brings you” We enter into this dark world, where there' s light in the centre of the vortex. We' re all attracted to it, as if we' re under a spell. This is the theatre, and it' s the dream world in the heart of many. It' s easy to enter here, but difficult to persist. Hence, you' re willing to exert efforts so as to continue along this path. You make an effort to stretch your tendons; you do what you can to strengthen your physical fitness; you overwhelm yourself with sweat; all seem to serve as a proof that you' re still living on the stage. When you sharpen yourself to become a knife, your heart gets lost somehow. That heart of utmost pureness, which simply loves performing, loves the stage, and loves art. You forgot why you chose to be here in the beginning. Here and now, are you still truly in love with the theatre?
Performers' Notes
謝昊丹 Tse Ho Dan
人是群居的生物，自古部落的聚集是對人的群居性 的最好說明。現代城市結構卻在一步步拆解人與 人的關係，我們被割裂成一個個個體，開始對身邊 事物與關係不再敏感。於劇場流連的我們是一個部 族，尋找真實的關係與聚合集體性的能量。劇場有 多深有多闊？人與人的關係又有多深有多闊？我希 望劇場回答自己的問題。
Human beings are gregarious creatures. This is best illustrated by the tribal mode of living since ancient times. However, the structure of modern city deconstructs human relationships step by step. We're separated as isolated individuals, who grow to be insensitive to the things around us and to relationships. Lingering in the theatre, we form a tribe, and engage ourselves in the search for real relationships and the congregation of collective energy. How deep and how wide is the theatre? And how deep and how wide can human relationships be? I hope the theatre can answer my questions.
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學員筆記
Performers' Notes
王小燕 Wong Siu Yin
雖然不求劇場能帶給我什麼，但我享受在熱愛的事 情上攀登求知的階梯。我會透過劇場去問自己什麼 是「界線」？在實體中如何去衡量界線，在虛體中 又是怎樣定斷界線。在舞台上什麼會影響界線，是 規矩？是演員？還是觀眾？在生活中什麼會影響界 線？是態度？是對象？還是社會的誘導？演一台戲 是如此，做人也是如此，還有很多事情值得我們繼 續探討......
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Though I don't expect anything from the theatre, I enjoy climbing the ladder of knowledge while doing what I love. Through the theatre, I'd ask what a“boundary” is? How do we measure boundaries in concrete matters, and how do we specify them in abstract realms? What affects boundaries on stage? Is it rules? The actors? Or the audience? What affects boundaries in life? Is it attitude? The target? Or the inducement of society? Acting out a scene is like that; being a human is also like that. There're still many areas worthy of our continuous exploration…
進念．二十面體 Zuni Icosahedron 聯合藝術總監
Co- Artistic Directors
榮念曾、胡恩威
Danny Yung, Mathias Woo
進念．二十面體，1982年成立，為非牟利慈
Zuni Icosahedron, founded in 1982, a Hong Kong based international experimental theatre company. Zuni has produced over 200 original productions of alternative theatre and multimedia performances, and has been active in video, sound experimentation and installation arts, as well as in the area of arts education, arts criticism, cultural policy research and international cultural exchange. In the past decade, Zuni has been undertaking the mission of preserving and developing Intangible Cultural Heritage (Performing Arts). Over the years, Zuni has been invited to more than 60 cities in Europe, Asia, and America for cultural exchange and performances. Zuni is one of the nine major professional performing arts companies in Hong Kong, and has established itself as a premiere experimental theatre locally, regionally and internationally. Since 2009, Zuni has become a venue partner of the Hong Kong Cultural Centre and produces a series of theatre works and outreach education programmes.
善文化團體，以香港為基，面向世界的實驗藝 團。專注於多元戲劇藝術創作，原創劇場作品 超過二百齣，曾獲邀前往演出及交流的城市遍 及歐、亞、美等地六十多個城市。多年來一直 致力拓展香港文化藝術新領域，積極推動國際 文化交流，主催藝術評論及文化政策研究等工 作，並活躍於藝術教育和發展電子媒體及跨媒 體等新類型的藝術模式，近年亦致力促進非物 質文化遺產（表演藝術）的傳承和發展。現為 香港九個主要專業表演藝術團體之一，香港最 具代表性的國際實驗劇團。2009年始，成為香 港文化中心的場地伙伴，開展系列創作及外展 教育計劃。
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進念．二十面體
董事會 Board of Directors 主席 | 靳埭強 靳劉高創意策略創辦人及榮譽顧問
Chairperson | Kan Tai Keung Founder and Honorary Advisor, KL&K Creative Strategics
副主席 | 劉千石 華欣文教基金主席
Vice-chair | Lau Chin Shek Chairman, Wah Yan Cultural Foundation
秘書 | 張世耀 資訊科技管理
Secretary | Leo Cheung Information Technology Management
司庫 | 譚卓玲 Yorkshire Capital Limited高級副總裁
Treasurer | Jackie Tam Senior Vice President, Yorkshire Capital Limited
成員
Members
| 區子強 廣告導演
| Johnny Au Advertising Film Director
| 蔡德才 人山人海創辦成員及董事 | 林永君 Anyplex數碼點播有限公司創辦人及行政總裁 | 利龐卓貽 樂慈基金會有限公司香港分部會長 | 黃炳培 八萬四千溝通事務所有限公司創辦人及創作總監 | 胡紅玉 律師 | 嚴志明 科譽(香港)有限公司創辦人兼首席設計師
| Jason Choi Founder and Director, People Mountain People Sea Productions | Ringo Lam Founder and CEO, Anyplex Hong Kong Limited | Vanessa Pong Lee President, Live to Love Hong Kong | Stanley Wong Founder and Creative Director, 84000 Communications Limited | Anna Wu Lawyer
| 姚永安 時事評論人
| Eric Yim
榮譽法律顧問 | 陳韻雲律師行
Founder and Chief Designer, POSH Office Systems (HK) Limited | Gabriel Yiu Current Affairs Pundit Vivien Chan & Co. | Honorary Legal Advisor
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Zuni Icosahedron
職員
(截至2016年10月)
STAFF (as at 2016.10)
總監
DIRECTORS
聯合藝術總監 | 榮念曾
Co-Artistic Director | Danny Yung
聯合藝術總監暨行政總裁 | 胡恩威
Co-Artistic Director cum Executive Director | Mathias Woo
創作及藝術部
CREATIVE AND ARTISTIC
助理藝術總監 | 陳浩峰
Assistant Artistic Director | Cedric Chan
駐團演員 | 楊永德、鍾家誠 駐團藝術家 | 黎達榮
Performer-in-Residence
| David Yeung, Carson Chung
Artist-in-Residence | Lai Tat-wing Senior Researcher | Theresa Leung
研究主管 | 梁冠麗
Creative Coordinator | Peter Lee
創作統籌 | 李嘉隆
Assistant Creative Coordinator | Clement Lai
助理創作統籌 | 賴旭輝 ADMINISTRATION AND PROGRAMME 行政及節目部 藝團經理 (行政及財務) | 陳世明 藝團經理 (節目) | 簡溢雅
Company Manager (Administration and Finance) | Jacky Chan Company Manager (Programme) | Doris Kan Manager (Programme and Venue) | Bowie Chow
經理 (節目及場地) | 周寶儀
Manager (PR and Partnership Development) |
經理 (公關及伙伴發展) | 黃偉國
Luka Wong
舞台監督 | 周俊彥 助理節目經理 | 何彥羲
Stage Manager | Gavin Chow Assistant Programme Manager | Ho Yin-hei Programme and Art Administration Trainees |
節目及藝術行政見習 | 翟桐、池家丞、盧雪雯
Rachel Chak, Kason Chi, Stephanie Loo
文化交流及教育項目
CULTURAL EXCHANGE AND EDUCATION PROJECTS
監製 | 黃裕偉
Producer | Wong Yuewai
項目經理 | 陳碧如
Project Manager | Chan Pik-yu
項目助理 | 鄭國政 行政助理 | 陳苡霖
Project Assistant | Ricky Cheng Administrative Assistant | Elaine Chan
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進念．二十面體
團隊 The Team 藝術總監、導演︱榮念曾
課程發展監督︱黃裕偉
音樂總監及設計、創作指導 (聲音)︱許敖山
課程設計︱陳碧如、Tobias Gremmler、許敖山、 黎達榮、黃大徽、胡恩威、于逸堯
創作指導 (形體) ︱黃靜婷
演員 | 陳漢堯、程朗、程穎翹、蔡雨田、何嘉翹、 許文壕、許民杰、許友權、葉珮君、江清蓉、郭凱盈、 賴旭輝、羅凱盈、李炎鑫、李秋影、鍾家宜、吳璟琳、 謝昊丹、王小燕
監製︱胡恩威、黃裕偉 舞台技術指導︱李浩賢 燈光設計︱羅兆鏵 舞台監督︱周俊彥 執行舞台監督︱陳緻諾 攝影︱Vic Shing, Keith Sin 平面設計︱alonglongtime 教材視覺設計︱張焯珩 英文翻譯︱梁惠琪, 葉希
工作坊導師 | Dorothea Etzler (柏林)、鮑藹倫、 孔愛萍 (南京)、黎達榮、朴豪杉 (首爾)、蔣曙紅 (南京)、 石小梅 (南京)、黃大徽、胡恩威、于逸堯、張軍 (上海) 錄像紀錄實習生導師 | 許康年
創意操場項目經理︱陳碧如 創意操場計畫統籌︱陳浩峰 創意操場項目助理︱鄭國政 助理創作統籌︱賴旭輝
實習生 | 謝昊丹、張焯珩、程朗、劉慶聰 設計實習生︱周子媛 舞台及錄像紀錄實習生#
| 陳家明、陳梓俊、張灝賢、
郭曉瑩、梁浩文、梁淑雯、李宗典、盧欣沂、麥凱俊、 冼文傑、黃嘉誠、黃子肮、黃松年、任鎧霖 ＃香港專業教育學院(李惠利)資訊科技系 視聽娛樂科藝高級文憑
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Zuni Icosahedron
Artistic Director, Director | Danny Yung
Curriculum Development Coordinator | Wong Yue-wai
Sound Director and Design, Creative Instructor (Sound)
Curriculum | Chan Pik Yu, Tobias Gremmler, Steve Hui,
| Steve Hui
Lai Tat Wing, Dick Wong , Mathias Woo ,Yu Yat-yiu
Creative Instructor (Body and movement) | Chloe Wong
Performers | Billy Chan, Ching Long, Winkie Ching, Choy Yu Tin, Ho Ka Kiu, Hui Man Ho, Hui Man Kit, Hui Yau Kuen, Stephanie Ip, Ellen Kong, Helen Kwok, Clement Lai, Vicgina Law, Lee Yim Yum, Eleanore Li, Maydelyn Liauw, Vanessa Ng King Lam, Tse Ho Dan, Wong Siu Yin Producers | Mathias Woo, Wong Yue-wai Stage Technical Instructor | Lawrence Lee Lighting Designer | Adonic Lo Stage Manager | Chow Chun Yin
Instructors | Dorothea Etzler (Berlin), Ellen Pau, Kong Aiping (Nanjing), Lai Tat Wing , Park Hobin (Seoul), Jiang Shuhong (Nanjing), Shi Xiaomei (Nanjing), Dick Wong, Mathias Woo, Yu Yat-yiu, Zhang Jun(Shanghai) Instructor for Video Interns | Hui Hong Nin
Project Manager | Chan Pik Yu Project Coordinator | Cedric Chan Project Assistance | Ricky Cheng Assistant Creative Coordinators | Clement Lai
Deputy Stage Manager | Chan Chi-nok Photograher | Vic Shing, Keith Sin Graphic Design | alonglongtime
Interns | Daniel Tse Ho Dan, Coco Cheung Cheuk Hang,
Teaching Material Visual Design
Tony Ching Long, Ryan Lau Hing Chung
Cheung Cheuk Hang, Coco
Design Intern | Pearl Chow Tsz Wun
Translation | Vicky Leong, Jackie Yip Stage & Video Archive Interns# | Chan Ka Ming, Chan Tsz Chun, Cheung Ho Yin, Kwok Hiu Ying, Leung Ho Man, Leung Shuk Man, Li Chung Tin, Lo Yan Yi, Mak Hoi Chun, Sin Man Kit, Wong Ka Shing, Wong Tsz Hong, Wong Chung Nin, Yam Hoi Lam #Higher Diploma in Audio-Visual Entertainment Technology (AVET) Department of Information Technology, IVE (Lee Wai Lee)
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進念．二十面體
演出長約90分鐘，不設中場休息 Running time approximately 90 minutes with no intermission 遲到觀眾須待節目適當時候方可進場 No latecomers will be admitted, until a suitable break in the performance. 進念．二十面體保留更改節目內容、表演者及座位編排的一切最終決定權 Zuni Icosahedron reserves the right to add, withdraw or substitute artists and/ or vary advertised programmes and seating arrangements 本刊內容，未經許可，不得轉載。 Reproduction in whole or in part without written permission is strictly prohibited.
通訊地址Address : 香港上環永樂街60-66號昌泰商業大廈2字樓203-4室 Room 203-4, 2/F., Cheong Tai Commercial Building, 60-66 Wing Lok Street, Sheung Wan, Hong Kong 電話Tel : (852) 2893 8704 傳真Fax : (852) 2838 7527 電郵Email : info@zuni.org.hk 網址Website : www.zuni.org.hk
www.zuniseason.org.hk © copyright 2016 Zuni Icosahedron
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Zuni Icosahedron
鳴謝 Acknowledgments 石小梅崑曲工作室 Shi Xiaomei Kunqu Atelier 江蘇省演藝集團崑劇院 Jiangsu Performing Arts Group Kun Opera Theater 南京藝術學院 Nanjing University of the Arts 香港演藝學院 The Hong Kong Academy for Performing Arts 香港中文大學新聞與傳播學院 School of Journalism and Communication, Chinese University of Hong Kong
石小梅 Shi Xiaomei 張宏 Zhang Hong 柯軍 Ke Jun 張軍 Zhang Jun 李鴻良 Li Hongliang 羅周 Luo Zhou 王曉映 Wang Xiaoying 李立特 Li Lite 李彬 Li Bin 松島誠 Makoto Matsushima Rajanikara Leng Kaewdee 徐愛民 Xu Aimin 潘達培 Eric Poon 鄭家鳳 Zheng Jiafeng 林喬然 Lin Qiaoran 林方芽 Lin Fang Ya 胡寶娟 Woo Po Kuen
學術合作機構 | Academic Support & Partner
指定印刷 | Official Printing
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